The Reader's Potentials: Well-known translator's take on Che.

A friend & translator writes, "still, and again, engrossed in the masterfulness of 'Che' language. It is a rare thing in prose
these days that a writer does not write 'to the reader' but to the art of creating something that makes a reader re-visit his own potentials."

Of course I'm grateful for what's said there.

Re-reading the epigraphs to section three, Acolyte, this morning I realized, again, just how important those are to the text--and revealing in the order and way in which they amount. I hope they are "permission" and "affinity" both, and more. I read them as a kind of Greek Chorus, preluding each section of Che.

Left Bank reading & reviews, comments & my "clarification"

Recent readers compare the experience to Marilynne Robinson and William Gass. (I went out and got a book by Robinson to see.)

Let me just say: the "double hyphen dash" and the regular solid strike dash are used in my text with reason. Pacing and utterance have to do with it.

And regarding epigraphs: the choices and the placement/phrasing/crediting are every bit as important to the text as the text. What allows the text and what supports the text is universal, but it is all personal. Flux and form: equal parts important. Otherwise we wouldn't be here.

See you at Manchester and The Mountain on Friday.

Thanks to all who bought the book at Southern New Hampshire University and Left Bank Books Saturday & Tuesday.